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In the mid-2010s, a passionate community of Los Angeles-based storytellers, media artists, and tech innovators formed around virtual reality (VR), believing that it could remedy society’s ills. Lisa Messeri offers an ethnographic exploration of this community, which conceptualized VR as an “empathy machine” that could provide glimpses into diverse social realities. She outlines how, in the aftermath of #MeToo, the backlash against Silicon Valley, and the turmoil of the Trump administration, it was imagined that VR—if led by women and other marginalized voices—could bring about a better world. Messeri delves into the fantasies that allowed this vision to flourish, exposing the paradox of attempting to use a singular VR experience to mend a fractured reality full of multiple, conflicting social truths. She theorizes this dynamic as unreal, noting how dreams of empathy collide with reality’s irreducibility to a “common” good. With In the Land of the Unreal, Messeri navigates the intersection of place, technology, and social change to show that technology alone cannot upend systemic forces attached to gender and race.

Bringing to light an often-ignored aspect of Hollywood studio system history, this book focuses on female stars who broke the mold of a male-dominated, often manipulative industry to dictate the path of their own careers through freelancing.

Runner-up, Richard Wall Memorial Award, Theatre Library Association, 2016

During the heyday of Hollywood’s studio system, stars were carefully cultivated and promoted, but at the price of their independence. This familiar narrative of Hollywood stardom receives a long-overdue shakeup in Emily Carman’s new book. Far from passive victims of coercive seven-year contracts, a number of classic Hollywood’s best-known actresses worked on a freelance basis within the restrictive studio system. In leveraging their stardom to play an active role in shaping their careers, female stars including Irene Dunne, Janet Gaynor, Miriam Hopkins, Carole Lombard, and Barbara Stanwyck challenged Hollywood’s patriarchal structure.

Through extensive, original archival research, Independent Stardom uncovers this hidden history of women’s labor and celebrity in studio-era Hollywood. Carman weaves a compelling narrative that reveals the risks these women took in deciding to work autonomously. Additionally, she looks at actresses of color, such as Anna May Wong and Lupe Vélez, whose careers suffered from the enforced independence that resulted from being denied long-term studio contracts. Tracing the freelance phenomenon among American motion picture talent in the 1930s, Independent Stardom rethinks standard histories of Hollywood to recognize female stars as creative artists, sophisticated businesswomen, and active players in the then (as now) male-dominated film industry.

Long before the COVID-19 crisis, Mexican Indigenous peoples were faced with organizing their lives from afar, between villages in the Oaxacan Sierra Norte and the urban districts of Los Angeles, as a result of unauthorized migration and the restrictive border between Mexico and the United States. By launching cutting-edge Internet radio stations and multimedia platforms and engaging as community influencers, Zapotec and Ayuujk peoples paved their own paths to a transnational lifeway during the Trump era. This meant adapting digital technology to their needs, setting up their own infrastructure, and designing new digital formats for re-organizing community life in all its facets—including illness, death and mourning, collective celebrations, sport tournaments, and political meetings—across vast distances. Author Ingrid Kummels shows how mediamakers and users in the Sierra Norte villages and in Los Angeles created a transborder media space and aligned time regimes. By networking from multiple places, they put into practice a communal way of life called Comunalidad and an indigenized American Dream—in real time.
 

Indigenous Archives analyzes the modes through which young Guatemalan Mayas in Los Angeles and Guatemala make sense of and respond to transnational structures of settler colonialism. Drawing on in-depth analysis of cultural production and interviews with Guatemalan Maya youth and young adults, Floridalma Boj Lopez examines how Mayas in diaspora craft and circulate narratives about their experiences across borders. Citing a more active practice of “archives in formation,” Boj Lopez depicts Indigenous archives as a cross-generational, collective conversation rooted in memory, survival, and cultural expression where Indigenous cultural practices and artifacts move, adapt, and assert their presence in the contemporary. Indigenous Archives invites readers to consider Indigeneity as a process, lived experience, and historical perspective, rather than as a static identity, and shows how extending analysis across borders is critical to understanding Latinidad and Indigeneity.

Reclaiming power and prophecy through California Indian intellectual resurgence and anticolonial resistance

 

Mark Minch-de Leon explores the anticolonial dimensions of California Indian intellectual and cultural resurgence in the aftermath of apocalypse in this compelling reexamination of Indigenous art, literature, and theory. Centering on a reinterpretation of the Ghost Dance, a ceremony first practiced in the nineteenth century, as a collective demonstration of prophecy and resilience, Indigenous Inhumanities envisions an expanded poetics of resistance through a reconfigured relationship to death and the dead. By dismantling the colonial frameworks of inclusion, recognition, and representation that reinforce settler-state power, Minch-de Leon shows how storytelling can be reclaimed as both research and as a tool for decolonization.

 

Taking up critical issues that the state has used to discipline California Indian relations to ancestors, such as the politics of human remains repatriation and the discourse around California Indian genocide, Minch-de Leon centers Indigenous knowledge and social systems while challenging legal and political definitions of violence, power, and the human. Rich case studies showcase the evocative art of Frank Day, the poetry of Tommy Pico, and the writings of Deborah Miranda, highlighting how these creators advance Indigenous theory and disrupt settler categories.

 

By refusing reconciliation and embracing Indigenous frameworks of radical relationality and the “inhuman” (what lies outside of human control), Minch-de Leon presents a bold vision of Indigenous antihumanist survival and resurgence. Indigenous Inhumanities illuminates the path toward decolonial futures by following the radical turn the ancestors made toward the powers of the dead to bring an end to the colonial world.

 

 

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In Inland Empire, Manuel Shvartzberg Carrió examines how modernist architecture and urban design structured US settler colonialism and capitalist hegemony in the twentieth century. Focusing on Palm Springs’s settlement upon the Agua Caliente Reservation and other reservations in inland Southern California, he shows how architecture became a key technology for governing empire at the height of the state’s drive to terminate Native American sovereignty. Through extensive archival research and dialogue with Cahuilla, Kumeyaay, and other Tribal community members, Shvartzberg Carrió offers a new architectural history of modernism. Carefully placing the work of seminal California architects within the genealogy of manifest destiny, he demonstrates how their designs over settler and Native housing, prefabrication technologies, the logistics of migrant construction labor, community development plans, and environmental infrastructures offered new ways of managing Indigenous resistance—a spatial turn in Native American administration that constituted a veritable workshop for neoliberalization policies later sponsored globally by the United States. Charting Indigenous nations’ responses to these momentous challenges, Inland Empire details how they deployed novel modes of resistance grounded in Native architectural histories, spatial practices, and epistemologies of land.

In the mid-nineteenth century, Chinese opera theater arrived as one of the significant performing art forms in California. Nancy Yunhwa Rao excavates and contextualizes the important history of Chinese Opera Theater, bringing to light the ways it became woven into the financial, political, social, and family life in California and beyond.

Chinese opera theater found brick-and-mortar homes with San Francisco theaters like the Hing Chuen Yuen and the Donn Qui Yuen. But troupes had already followed Chinese immigrants to mining and railroad towns, and across the American West. As Chinese theater became part of California and San Francisco culture, popular Chinese actors advocated for their art alongside appeals for civil rights. Rao draws on personal diaries, newspapers and artifacts to place Chinese theater within the everyday lives of San Francisco. She also examines the costumes, singing, staging, and storytelling that impacted mainstream reception and influenced how Chinese communities saw themselves.

Illustrated with seventy photographs, Inside Chinese Theater is an expert and eloquent journey into the early decades of Chinese opera in America.

A powerful visual journey through twentieth-century Mexico, this bilingual volume showcases the iconic photography and creative community that shaped a national visual identity.

Presenting nearly 150 pictures made between 1920 and 2017, Instante/revelación highlights the work of thirteen renowned photographers who feature prominently in the history of the medium in Mexico, including Lola and Manuel Álvarez Bravo, Graciela Iturbide, and Pablo Ortiz Monasterio.

Through a dynamic selection of images, the publication explores some of the intertwined sociocultural forces that shape life and art in Mexico. Among the photographs are stunning presentations of landscapes, architecture, and flora and fauna from across the country; depictions of daily life; and portraits of esteemed Mexican artists and writers such as Diego Rivera, Frida Kahlo, and Octavio Paz. An illustrated essay examines the significant role photobooks and periodicals played in disseminating these images.

The photographers featured in this volume are linked by friendship, influence, and collaboration. Their works, when viewed together as a collective narrative, reveal the spirit of fruitful exchange that characterizes this exciting chapter in Mexico's photographic history.

This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from September 1, 2026, to January 3, 2027.

At the end of the twentieth century, many twenty-something Japanese women migrated to places like Southern California with few skills and an overall lack of human capital. These women, members of the shin Issei community, sought economic opportunities unavailable to them in their homeland. In Intimate Strangers, shin Issei women tell stories of precarity, inequality, and continuing marginality, first in Japan, where they were restricted by gendered social structures, and later in the United States, where their experiences were compounded by issues such as citizenship.

Intimate Strangers charts the experiences of shin Issei lives: their existence in Japan prior to migration, their motivations for moving to the United States, their settlement, and their growing awareness of their place in American society. Toyota chronicles how these resilient young women became active agents in circumventing social restrictions to fashion new lives of meaning. The Nikkei community (Americans of Japanese ancestry who were born in the United States) has been transformed by the inclusion of shin Issei, and Toyota describes the tensions around intergroup negotiations over race, identity, and the possibility of common belonging.

Intimate Strangers is a perceptive study of migration and community incorporation enacted around cultural differences and processes.

Isherwood’s lectures on writing and writers, now all available for the first time

In the 1960s, Christopher Isherwood gave an unprecedented series of lectures at California universities about his life and work. During this time Isherwood, who would liberate the memoir and become the founding father of modern gay writing, spoke openly for the first time about his craft—on writing for film, theater, and novels—and spirituality. Isherwood on Writing brings these free-flowing, wide-ranging public addresses together to reveal a distinctly American Isherwood at the top of his form.

This updated edition contains the long-lost conclusion to the second lecture, published here for the first time, including its discussion of A Single Man, his greatest novel, and A Meeting by the River, his final novel.

Three Generations of Japanese American Women in Domestic Service Evelyn Nakano Glenn "A richly detailed and sophisticated examination of...how historical and economic forces restricted women's lives and how women devised strategies for dealing with their plight." --Canadian Woman Studies In this unique study of Japanese American women employed as domestic workers, Evelyn Nakano Glenn reveals through historical research and in-depth interviews how the careers of these strong but oppressed women affected the history of Asian immigration in the San Francisco-Bay Area. Three generations of women speak in their own words about coping with degraded employment and how this work related to family and community life. The disproportionate concentration of Japanese American women in domestic service from the early part of this century to the present resulted from their status as immigrants and women of color in a race and gender stratified local labor market. The three generations covered by this study--pre-1924 immigrants (issei), first American born generation (nisei), and post-World War II immigrants (war brides)--were subjected to multiple forms of oppression but were not appendages of men nor passive victims. Dr. Glenn shows how their struggles to achieve autonomy, dignity, and a suitable livelihood were essential to the survival of the family and the community. Although unique in many ways, the situation of the Japanese American woman has important parallels with that of other women of color in the United States. Ironically her role as a domestic cast her in a menial, degraded job but often elevated her to the position of valued confidant to her employer. Issei, Nisei, War Bride is the first study to offer a sociological/historical perspective on these women. It addresses issues about the nature of labor systems in capitalist economies, the role of immigrant and racial ethnic women in those systems, and the consequences of participation in race and gender stratified systems for minority families and communities. Reviews "A beautifully written, well-organized, and sociologically rich study of three generations of Japanese-American women who worked as domestics. Glenn's study fits well into a women's studies collection, particularly with those materials focusing on immigrants or the working class." --Choice "... A much welcome contribution to the literature on women and work and on Japanese American women, in particular. Glenn has artfully combined a rich case study approach with detailed sociodemographics in an historical framework.... Glenn writes well and skillfully incorporates detailed historical and demographic facts with a descriptive style. The presentation of labor statistics is excellent.... This book is an important contribution, not only to Asian American Studies but to women's studies and the literature on labor and immigrant groups." --Amerasia Journal "A revealing view into the role of Japanese women immigrants in the United States not only as domestic workers but also in their family lives. This study is enlivened by the life stories and quotations from the women themselves..." --Edwin O. Reischauer "This work is a valuable contribution to the literature on immigration and an important addition to the literature on occupations. It contains a fascinating and highly readable account of the array of perspectives on work and family that Glenn was uniquely positioned to collect from Japanese women and provides an extremely useful study for those who teach women and work, gender roles, and sociology of occupations courses." --Arlene Kaplan Daniels About the Author(s) Evelyn Nakano Glenn is Associate Professor of Sociology at State University of New York at Binghamton.